Forum Activity for @dusty

Kay, all musicians get frustrated with their own progress, so the feelings you are experiencing are normal. One way to avoid the sense that you're not getting better is to record yourself playing a song. You don't have to share it with anyone, but date it and keep it. And keep practicing. After a couple of weeks ora month go back and listen to your recording. You'll probaby know immediately that you can already play much better. That sense of progress can motivate you to keep playing and help avoid the frustration that you seem to be experiencing.

Kay, that's a wide open question ht demands us to ask other questions. What is your musical background? How many hours a day or week do you practice? What do you mean by better and improve?

1. No one says you have to play chords or fingerpick. Those are not traditional techniques for playing dulcimer after all. I've been playing N&D nearly 40 years, and for more than half of that time I only strummed out, not back and forth. I would learn to fingerpick or chord if you paid me. In all that time I developed my own style of play based on N&D and strumming, including some thing I learned here, ignoring stuff that didn't suit me there.

2. When you say "improve" do you mean increasing your memorized repertoire? Or do you mean playing tunes close to 'performance speed' the way you hear others play? How many songs have you learned, are you trying to learn? Is there a local group against which you're measuring your supposed lack of improvement? What scale are you using to judge your improvement or lack thereof?

3. In any learning situations there are 'plateaus'. You learn new stuff, then you practice the new stuff until you've "got it". Then you look for more new stuff. If you're not adding new stuff to learn; if you're not stretching yourself, you stay at a plateau for a long time, until something or someone comes along and sparks you to learn more/do better, etc.

4. What kind(s) of music are you trying to learn? American folk? Modern? Religious? Celtic?

Playing all of two months and you're worried about improving? At this stage, if you can play 3 or 4 songs well -- that is up to performance speed, from memory -- then you're head and shoulders better than most beginners I know. Chances are you're not that far. But if you can pick out half a dozen songs by reading tab, and they aren't dirge slow, then you're doing pretty good.

Kay, finger picking is not that easy so give yourself some time. I've had my dulcimer over a year and I still feel like a beginner. I do believe making progress is a result of spending more and consistent time playing the instrument. I have found that once I learn I song if I continue to practice it I can really improve on my technique. I also try do do at least three verses of a song and not do a one verse wonder. My daughter's piano teacher has my daughter to practice a piece until it becomes second nature. Repetition is the key. She does give my daughter a few songs to work on so that she doesn't get bored. Hang in there. If you are enjoying it then you are doing fine

Dean, this is not really an either/or proposition. If you play dulcimer in a droning style, meaning you play the melody (with a noter or your fingers) on the melody string, then you will learn to play in different tunings depending on the melody of the song. Some songs only work in DAA, some only work in DAd, and some lucky ones can be played in both tunings. Other songs will require DAC or DAG tunings.

If you play across all the strings and play chords, then you do indeed have the ability to stick mostly to one tuning. Thirty years ago DAA would have been the most common. Today it is DAd, as you have discovered with the Desert Dulcimers.

I would second Skip's advice to stick with one tuning at a time for chording. And right now, 90 percent of the chording world plays mainly in DAd. You will find more resources for that tuning and will see more examples of it at workshops, on YouTube, and elsewhere. Mind you, I am not making a value judgment of one tuning over another, merely pointingout that for practical reasons, you will find more help chording in DAd.

But I still encourage you to experiment with other tunings, especially if you are playing in a droning style.

My opinion only, learn one at a time for chording. The chord finger positions will be different between the two tunings, V[A]=101[EAe] in DAD and 100[EAA] in DAA for instance.Many [most?] 'chords' on the MD are onlypartials. There are a bunch of them that will feel awkward at first but get easier over time. You will learn the best way, for you, of fingering/transitioning between chord changes as you progress. Most of the folks I know use DAd for chording but I've heard that DAA may be easier/better for it.

The best tuning I've found for pure chording is DF#AA [1355], four equidistant strings.

That's a real "can of worms" question, Dean. Everyone is going to give you a different answer. I personally vote for you learning BOTH DAd and DAA -- as well as DAC and DAG and the other modal tunings as well. Neither DAd nor DAA will 'solve' everything, as neith of them is particularly minor in nature.

And did you know, btw, that you can play chords (if you must play chords) just as well in DAA as you can in DAd? And it may be easier on your hands. Check out this article:

http://www.everythingdulcimer.com/articles/31/Learning_Chord_Melody_Style.pdf

Unless you've got two dulcimers, it's probably better to focus on one tuning for a day or a week, then retune and work on things in the next tuning.

Sweet sounds from that old guitar. I hope my modern guitar sounds that sweet when it get that old.

Dusty, you are a gold mine of info.

Robin, I didn't have a chance to listen to your clip until now- it sounds so rich and old style- really great.

Robin, that guitar sounds amazingly warm and mellow. You have certainly rescued a treasure.

And I'm impressed by your playing as well. I agree with Rob; you sound Jeffersonian, as in Blind Lemon.

There are a few good sources for that mix of hillbilly and race records that was common in the 20s and 30s. I have a CD of African-American fiddlers calledFiddler, Singthe Blues for Me, and there is a two-CD set called White Country Blues that is basically old "hillbilly" singers playing blues. There was a repertoire of acoustic blues music that was common to both white and black performers who, of course, listened to each other. As Rob says, the music was only separated by record company producers and marketing folk. And of course, that whole tradition of Piedmont Blues, which centers on fingerpicking and uses the standard 12-bar form much less frequently, was equally white and black. In fact, some of your playing could easily fit into that tradition.

OK, so I ramble. I guess I'm a ramblin' man.

That is one beautiful instrument, Lisa! I'd love to pluck a little on it!

Oh Lisa that's a wonderful instrument And I just LOVE the case!!!!

My little parlor (US spelling!) guitar would have been originally steel strung. It is braced for steel strings and this is typical of the Oscar Schmidt guitars of this age.

There are some folks playing guitars of the 1800's in the Minstrel genre groups, they are amazing and lovely smaller parlor guitars, but must be kept tuned lower as the banjos also were low tuned during the 1800's. They were just not built to withstand modern high steel string tunings. Robin, your guitar was built a little later on, was yours originally strung with gut or steel strings, do you know?

This original 1850's Ashborn guitar is now strung in Nylgut (originally strung in gut), and is regularly played in lower-key minstrel style sessions:

Robin, I think the influence and "mixing" of Black & White music predates the recording industry. Indeed there are some (and I think I'm one of them,) who believe the recording industry is what separated the music. They recorded black artists and wanted blues for their "race records" division. There were a few black string bands who were recorded, but, for the most part, string band music was recorded for a white audience. The Mississippi Sheiks, Papa Charlie Jackson, Henry Thomas and Uncle Dave Macon have similar "sounds" on a lot of songs. I believe songs like "Keep My Skillet Good & Greasy," "Georgia Buck," "Pallet on the Floor," "Sandy Boys," "Reuben's Train" are representative of that tradition I like to call (as I read it somewhere) proto-blues: that common music of black and white which predates the recording industry. We play a lot of it in the old time music world, without thinking about it, or even without knowing it in some cases. The recording industry and early record producers have done any of us interested in the history of "folk" music a disservice by dividing up music along racial lines. Wouldn't you love to have a black fiddler's rendition of "Turkey in the Straw" from about 1920?

Thanks

Rob - I have a lots of old blues tracks on various CDs but really haven't listened to them for quite a while - I sort of moved into old time and bluegrass. Perhaps I should fire up a few tunes by the old blues masters and have a listen again. There wasquite a swirling mix of music in the southern Appalachians around the 20s with influences of the blues coming in to 'hillbilly' music.

Just out of interest - I've fitted a set of heritage strings to the guitarthat are made by Newtone Strings in Derbyshire. I know Malcolm Newton and often chat to him on the phone as I order about 1000 strings from him each year for my guitars! The heritage sets have thinner round core wires and so come up to pitch at a lower tension. Hopefully my little parlour guitar's neck will appreciate the lower tension and stay stable without warping for a good few years! Here is a link to Newtone Strings.

http://www.newtonestrings.com/acoustic_page.htm

As a listener, player and researcher in early country blues, I'd say that was either Blind Lemon Clark or Barbeque Robin on a 6 string. Seriously, Robin, that's a great sounding instrument and you play it well. I've been hoping to rescue one of those myself, but haven't found one cheap enough that is restorable. Most that I find are warped quite badly. That's great

I picked this lovely little vintage parlour guitar up on Ebay about 4 years ago in a sorry state (and for not much cash at all ). A friend of mine took it to bits (not difficult as it was in bits!) and has put it back together. It is an incredibly light guitar with mahogany back, sides and neck and spruce top, the top and back are ladder braced. The neck is a lovely 20s thick C profile with no truss rod and the tuners are the old 'reversed' style (giving a clue to the date). Although the instrument has no label left inside a lot of research bought us to the conclude it is indeed from the Oscar Schmidt factory - the bridge shoulders being the significant marker.

It is a really lovely little instrument to play and from the pick marks on the body it has seen some good use over the years. It is not a valuable instrument or collector's item but rather a simple player's delight. She has a wonderful voice and, whilst I'm not any sort ofguitar player at all, I am enjoying finding my way around the fretboard of this great little instrument. I haven't picked up a guitar for the simple enjoyment of playing for years although I handle them every day for my job, which I suppose is why I don't play guitar anymore!!!!!! Anyway, perhaps this instrument will rekindle my interest. Here is a little soundclip of the beauty that I've just recorded.

Wood putty will crumble after only a short time. Buy a 1/4" or larger dowel at a Big Box Store. Drill a matching hole over the old hole. Cut a length of dowel, slather with Titebond (never Elmers white glue) and follow David's instructions for trimming and smoothing. Many older dulcimers used one or more 1/4" wooden dowels for string pins, nothing more.

For String Pins, most of us use a brass or steel brad or small headless nail. Others use a length of welding rod, coat hanger or small screw.

Violin Pegs are Tuning pegs, used instead of geared tuners. Violin End Buttons hold the Tail Gut of the Tailpiece onto the tail end of the violin -- under completely different stresses than dulcimer String Pins; more akin to a dulcimer strap button.

Though I have my own personal feelings on situations like this, I can certainly empathize with both views.

I think this discussion has thoroughly represented both sides of the issue at this point. So before it gets into further back and forth, I'm going to close it to new responses and leave it at that. Others can read it and hopefully make their own informed decisions. Thanks everyone.

Just reading this post & did seeCripple Creek was able to reach theirgoal on the fundraiser to save their machinery and continue to get some Dulcimers out - pay the IRS off!!!! Than much clean up - images of the flood looked really bad.

Does anyone know what is the latest, do they still have a store or are they just on line now?

I feel sorry for anyone who is having difficulties. I'm sure it is not their intention to put out a bad product. All I'm saying is that anyone who builds and sells dulcimers should be willing to back up the quality of their work. I would never buy a dulcimer from someone who has no refund policy. I looked up the web site you posted and it appears they are very near the goal of the money needed. I have friends who have owed money to the IRS and the IRS is more than willing to work out payment plans. They want the money because they don't want to be in the business of selling assets.

Elise, I know emotions can run high but Siggie wasn't the only one who had problems. Here is a link to someone else who had a problem, http://mountaindulcimer.ning.com/group/beginnerplayers/forum/topics... .

I understand from other FOTMD members that Cripple Creek were great dulcimers. I also have a friend who built one from a kit. Having said that I personally have a problem with any builder who doesn't stand by their product. I purchased my dulcimer from a builder who would refund my money if I wasn't happy with the dulcimer. I understand Siggie did get his money back less a restocking fee but he shouldn't have had to go through a lot of trouble for that. Any builder who thinks their product is good should back that up with a return and refund.

I would be upset if I purchased a dulcimer that had flaws and the builder was unwilling to fix it or refund my money even if I bought the dulcimer from McSpadden or Folkcraft. While I understand some performance dulcimers can get quite pricey, $450.00 is a lot of money to spend on an instrument that has flaws.

Siggie, I'm glad you got most of your money back. I too have a cardboard dulcimer from Backyard Music that I assembled myself. I really enjoy it. I do want to post a video of me playing it. It does have nice volume which I didn't expect from a cardboard dulcimer.

Siggie, Did you get a refund?

Strange about what's happened with Cripple Creek Dulcimers, but they do have Cripple Creek Guitars

http://www.cripplecreekguitars.com/

at the same store.

It was a little of both, Peter. I remembered a discussion about Cripple Creek dulcimers but couldn't remember if it was here or at ED or whether it got resolved or not. I did a search to find the conversation. It is interesting that they offered a refund two years ago but not more recently.

Peter Tommerup said:

Dusty,

GOOD WORK! Did you remember this earlier discussion or find it by searching for similar laments and complaints about Cripple Creek instruments?

Dusty,

GOOD WORK! Did you remember this earlier discussion or find it by searching for similar laments and complaints about Cripple Creek instruments?

Dusty Turtle said:

As Yogi Berra (whose book is entitled I Didn't Really Say All Those Things That I Said ) did or didn't say, "it's dj vu all over again."

Check out this discussion from two years ago .

As Yogi Berra (whose book is entitled I Didn't Really Say All Those Things That I Said ) did or didn't say, "it's dj vu all over again."

Check out this discussion from two years ago .

I've seen and tried both the first small Cripple Creek dulcimer that Siggie received sight unseen by mail, as well as the one she came home with after going back to the store and settling for the least bad of another 10 or 12 that she was shown.

The first one was TRULY THE MOST UNPLAYABLE DULCIMER I have ever seen in 39 years of playing and 36 years of teaching. I have never even seen a 1st time amateur built dulcimer so poorly designed or executed. It was atrocious and simply not a playable instrument. Compared to it, the Apple Creek dulcimers I've seen look extremely well designed and playable.

BTW, I don't believe the bridge and nut were accidentally swapped; I recall checking that out for Siggie and seeing that they were of different widths and placed into slots cut into the fret board, so one could not accidentally swap the one for the other.

The second short Cripple Creek that Siggie has now--the least bad of another dozen problematic instruments--again looks like it was designed by a first time wood worker. It seems to have a solid maple fret bar (not hollowed out), and still is problematic in terms of playing and tuning. One of its better qualities is that it's quiet enough that its poor design and execution aren't quite as apparent as they would be if it was louder.

The most amazing thing is that Cripple Creek seems completely oblivious to the exceedingly poor quality instruments that they seem to be pouring out at this point in time. Based on what I've seen, they make some shoddy and cheap Pakistani instruments look well made in comparison. Actually, calling them instruments is a misnomer since it implies that they can be played. The two I've seen are really just very expensive wall hangers!

Good advice at this point in time is to steer clear of Cripple Creek dulcimers--unless you're up for an exercise in being ripped off and frustrated.

All the best,

Peter

If the dulcimers were good in the past but not now, it makes me wonder if they are contracting someone else to assemble or manufacture them. It's definitely a concern and I'm surprised they don't stand behind their product and offer a refund.

Sad story. There are many reasons why an instrument might not be exactly what we want, but it sounds like this one has many serious structural problems.

I would contact them again and insist on a refund. If all the instruments they offered you have structural problems, then exchange should not be the onlyan option. They need to know how unhappy you are and how vociferously you are voicing your concerns to the dulcimer community.

Siggie, Sounds like someone may have reversed the nut and bridge. I wonder when it was strung up if they put the nut where the bridge was supposed to be and vise versa. You might want to loosen the strings and if the nut and bridge are the same width , reverse them and retune . See if that changes things. Just a thought, I had someone bring me one that was done that way, it was an easy fix.

That's a real bummer. Way too much money for a problematic poorly built dulcimer, and no returns... I feel for you.

You should consider posting this over at Everything Dulcimer, too. You could also comment on the store's Facebook page, although it is mostly inactive, and maybe review on Yelp or Angie's List. Publicity might cause them to make it right, or at least keep somebody else from getting ripped off this way.

I got my Cripple Creek dulcimer kit 6 yrs. ago this coming December. It plays like a dream. Like your older one mine has Cripple Creek Dulcimers burned into the side of the fret board and my named burned into the other side. They even exchanged the fret board that had a flaw in it. I called and they exchanged it. Sight unseen. They didn't want the old one back. I haven't been in the area since, but I am sorry of the way things have turned out for you. I guess time changes everything. For better or worse. Like Ken, they were great people to deal with.

My goodness, no! Bud & Donna, and Bud junior and his Lady have always been very easy to work with and have built really good instruments. Was the instrument you bought a "true" Cripple Creek or a Cripple Creek kit that someone slapped together?

Interesting - less string tension making it easier to depress the strings - Does that mean easier to depress I could have clearer tones on the higher frets? If I was in G and put a capo on the 4th fret, would the strings still be easy to depress or would it start getting more tension - again making the higher frets harder for a clear tone? Hmmmm, may need to try G or C - something lower than D, but than most all my tabs are in D and the group I play with are all in D.

So many different ways of setting up an instrument, so it's right for one's own personal preference - all very interesting.

The third hurdle was string buzzing. What was odd at first was it was erratic. I experimented with bridge height a little but the final solution turns out to be loose frets. When I inspected each fret wire I noticed slight movement of the fret within the fretboard on some frets. There appears to be drying out of the fretboard due to winter dryness and the wood is "unswelling".

This is quite common on cheaper Chinese import instruments Sam (and some more expensive ones too!). The rosewood used is often quite 'young', the fretsaw blades blunt/too wide and the humidity in China when the fretboards are made being much higher than a US winter.One fix is to use asmall drop of very low viscosity superglue (the industrial stuff that isas thin aswater and sets in 1-3 secs) run under the fret, thenpress andholdthe fret firmly down for 20 seconds or so with something like a small hammer head. You can easily re finish the fret board afterward if needed by lightly filing or sanding off any glue marks then using 000 and 0000 wire wool followed by a very light rub of lemon oil. I think I've had to do this on somewhere near 400 various Far East guitars so far as part of my job Mind you, it is also a 'trick' that I've had to use on a couple of old US pre-revival dulcimers that had the odd loose fret in order to get the fret 'singing' again.